M.A. - Dancehttp://hdl.handle.net/10125/2030
Tue, 31 Mar 2015 21:32:16 GMT2015-03-31T21:32:16ZDance, mysticism, and sensuality perspectives from Tajikistanhttp://hdl.handle.net/10125/20514
Thesis (M.A.)--University of Hawaii at Manoa, 2007.; Includes bibliographical references (leaves 225-234).; xv, 234 leaves, bound ill., maps 29 cm
Mon, 01 Jan 2007 00:00:00 GMThttp://hdl.handle.net/10125/205142007-01-01T00:00:00ZHinz, Sonja, 1973Shadowshttp://hdl.handle.net/10125/20513
My background in dance began with classical ballet, not in a rigid, structured format but in a small, let's-have-fun school. This naturally developed my love for dance - the friendships, the physical exercise, and the ecstatic joy of moving through space. I later .' progressed to more structured ballet classes and became thoroughly involved with the • ballet world in Hawaii and never strayed until college. While completing my BFA, I found myself exploring the world of, jazz (not hip-hop) and my presented piece at the Kennedy Lab Theatre was a piece that included both ballet and jazz. I continually fought the modern dance concepts and dismissing them as nonsense and crazy. I was young. " , Now my life is completing a circle and I finally understand 'modem dance' concepts and fully embrace them . During my MFA 'studies Ire-visited Labanotation concepts, learned about Laban Movement Analysis and found them to be very useful tools in teaching ballet and modem technique classes.
Thesis (M.A.)--University of Hawaii at Manoa, 2007.; 15 leaves, bound ill. 29 cm. +
Mon, 01 Jan 2007 00:00:00 GMThttp://hdl.handle.net/10125/205132007-01-01T00:00:00ZWright, Celia AnnThe impact of the University of Hawaiʻi at Manoa Dance Program : graduate students, Honolulu dance companies, and the community of Oʻahuhttp://hdl.handle.net/10125/11519
The University of Hawai'i at Manoa Dance Program is producing dancers that are making a difference in the professional world of dance on O'ahu and the mainland. I selected five alumni/ae pursuing careers in dance who had completed their MFA degrees at the University of Hawai'i at Manoa (hereafter UHM). I interviewed each of them over the telephone and via e-mail using a list of questions I created to question how their degrees relate to the positions they now hold. Each dancer graduated with an MFA degree in the past twenty years and continued to either dance professionally, teach at an educational institute, or both. I also interviewed four current MFA students in the Dance Program and asked them to share their personal aspirations and their hopes for the UHM Dance Program. Additionally, I selected three local modern dance companies that have ties to UHM through their dancers. I asked each Artistic Director how the University of Hawai'i Dance Program affects their company. My goal was to find how UHM is affecting graduate alumni/ae, present MFA candidates, and Artistic Directors of local companies. In what way did each dancer take what they learned at UHM and apply it to their everyday professional and personal lives? I am pursuing my MA degree at the University of Hawai'i. I started studying modern dance during my undergraduate time at UHM from 2000 - 2001, and obtained a minor in dance. I fell in love with modern dance, and decided to pursue a graduate degree. This research is relevant and interesting to me as it shows how a UHM dance degree affects other's in their lives, both personal and professional. I wanted to find how these alumni/ae were able to incorporate their passion for dance into a career, and how the university helped to contribute to the vitality of dance in the O'ahu community and on the mainland. In interviews I posed the same questions for each alumni/ae and current dancer at UHM. These questions were: Where did you study dance before attending UHM? Did you perform professionally? Which dance styles do you associate the most with? Why did you chose UHM for your MFA? When did you attend UHM? Do you feel UHM made a positive influence on you? Who were your greatest influences at UHM? Did UHM push you further than expected or hoped on a physical or mental level? Where do you teach dance? Where have you taught since graduating from UHM? Do you teach your students what you learned from UHM? How does UHM compare to the school you are employed by? Do you reflect back on your degree and time spent at UHM and how? Looking back, would you go to UHM and do it allover again? Would you recommend UHM to others? What do you think are UHM's strengths and weaknesses? Do you think local modern dance can survive on O'ahu without UHM? And I asked each subject to list anything they would like to add that I might have missed. My purpose was to find out if these dancers applied what they learned while obtaining their UHM degree in their current career. I wondered what the current degree candidates were hoping to achieve by completing their MFA degree from UHM. At the beginning of my interview process with the alumni/ae, I did not know if they used their UHM schooling or not. Were these former UHM dancers applying specific lessons gained during their degree pursuits? To what extent do they credit UHM for where they are with dance today? While wanting to discover if the UHM Dance Program is contributing to the vitality of local dance, I wanted to find if it contributes to the evolution of this artistic discipline locally. I believe my role in the process of interviewing the heads of current O'ahu dance companies is to be a facilitator of dialogue about dance and find insights for current and future students about the long term contributions of the UHM Dance Program for its graduates' careers in the local community and beyond as a performer and choreographer. A larger inferred question that my research analyzes is: Can local modern dance survive without the university?
Thesis (M.A.)--University of Hawaii at Manoa, 2005.; Includes bibliographical references (leaves 46-47).; iii, 47 leaves, bound 29 cm
Sat, 01 Jan 2005 00:00:00 GMThttp://hdl.handle.net/10125/115192005-01-01T00:00:00ZNovack, LynnMovement Characteristics Of Three Samoan Dance Types: Ma'ulu'ulu, Sasa And Taualugahttp://hdl.handle.net/10125/10429
Using principles originated by Rudolf Laban, I analyze examples of three Samoan dance types, ma'ulu'ulu, sasa, and taualuga, performed by three dance groups from American Samoa: the youth group of the Congregational Church of Jesus in Samoa (CClS 'Autalavou), the Samoana High School Swing Choir and the Siva Maia Dance Group. In Chapter 1, I briefly present the geography and political situation of American Samoa, followed by a brief overview of Samoan culture. Then, I provide an introduction to Samoan dance, including terminology, types of dance, change, general characteristics and contexts for performance and instruction. In Chapter 2, I review the existing Samoan dance literature and other relevant movement studies. I also discuss my research and analytical methodologies. Then, I introduce the three dance groups that performed the examples in my analysis and discuss where they performed the examples cited. In Chapters 3 through 5, I analyze the chosen dance examples to reveal the movement characteristics of each dance type. Finally, in Chapter 6, I summarize the elements that characterize each dance type, distinguish stylistic variations of each dance group and suggest general features that characterize Samoan dance. In addition, I suggest possible directions for future research.
Sun, 01 Aug 2004 00:00:00 GMThttp://hdl.handle.net/10125/104292004-08-01T00:00:00ZRadakovich, Jennifer